Roland Barthes, The Neutral: Lecture Course at the Collège de France p. 13
As a general rule, desire is always marketable: we don’t do anything but sell, buy, exchange desires […] And I think of Bloy’s words: “there is nothing perfectly beautiful except what is invisible and above all unbuyable” [via].
Douglas Glover, Attack of the Copula Spiders (Biblioasis, 2012):
… The great Viennese (wealthy, Jewish, neurasthenic, suicidal) philosopher Ludwig Wittgenstein drew the noose even tighter by defining language as a limiting concept; ultimately language cannot speak the truth but can only talk about itself, play with itself (pun intended). Modern philosophy after Kant is famously difficult stylistically, mainly because philosophers have had to work around the central problem that, by definition, they cannot talk about what they are talking about.
Difficulty and incomprehensibility become aesthetic virtues after Kant (perhaps not what he intended); clarity and formal neatness are marks of fantasy or prevarication. Hence the tradition of German Romanticism, a paradoxical aesthetic based on the impossibility of creating beauty. What goes for beauty (in novels, paintings, symphonies) are only failed attempts to create beauty, which is otherworldly, unconditioned, absolute, sublime (in the Kantian sense) and beyond language. German Romanticism is a hyper-realist aesthetic in the sense that it values works of art that represent their own inevitable failure. In contrast to the ideal of classical unity, it values fragments, digressions, interruptions, mixed forms, incompleteness, difficulty, and, above all, irony. …